 |
|
|
The Boynton Beach Club
There isn't a lot of verbiage to be expended on this film.
It's basically an episode of Love American Style except it's an episode where
all the American lovers are living in a retirement community, brought together
as members of a club for people who have recently been left alone. The film's
themes are shallow, and the more painful aspects of aging are either glossed
over with glib comedy or ignored completely. The people pair off easily, have
sex almost immediately, and always seem to hit it off. The conflicts come from
trivial matters: one woman lies about her age, another claims to be a widow when
she is really a divorcee, while another has let her driver's license expire. One
man lets his date form a mistaken impression of his career; another sends an old
picture of himself to an internet blind date (only to find out that she couldn't
care less because she's a hooker!) That gives you the general idea. It's
lightweight stuff, with the expected assortment of light comedy and musical comedy actors: Dyan Cannon (who looks tremendous at 69), Sally
Kellerman (who still has that sexy voice), Brenda Vaccaro, Michael Nouri, Len
Cariou, and Joseph Bologna. Excepting Nouri, they were all born in the mid
1930s, and are basically playing the roles they have been playing all their lives, except
older versions this time around.
The characters are too busy being cute to be real, but Cariou
does a great job at drawing audience empathy as the shy guy, and everything
works out pleasantly for one and all. Given that it's essentially a romantic sitcom about
old geezers, a genre which seldom finds its way to the top of my Netflix queue, I found it a pleasant enough time-killer.
The most striking and most talked about element of the film is
a topless scene from Hot Lips Houlihan, age 68.
|
|
* Yellow asterisk: funny (maybe).
* White asterisk: expanded format.
* Blue asterisk: not mine.
No asterisk: it probably sucks.
|
OTHER CRAP:
Catch the deluxe version of Other Crap in real time, with all the bells and whistles,
here.
|
|
|
|
|
|
 |
|
|
Snakewoman
Snakewoman (2005) is the latest directorial effort from 76-year-old Jess
Franco. It his his 188th directorial credit at IMDb in a filmography which
dates back to 1957, which means this year marks his 50th anniversary as a
director.
COMPLETE SPOILERS
Lesbian vampires. (Who would have dreamed?)
END SPOILERS
True to form, he has made an erotic horror film with lots of nudity. The story is so minimal
that what follows really will be spoilers.
Real Spoilers
Fata Morgana works for a media firm, and is tasked with obtaining rights to
the body of work of a once notorious Hungarian actress/singer/artist. She
travels to meet the woman's heirs, and ends up meeting the "Snakewoman," who
is the dead actress with snake tattoos and dark hair rather than her former blonde. Snakewoman (Carmen Montes) has been eating pussy, literally, before her
arrival, as we see from some scenes with Christie Levin. Snakewoman falls for
Fata Morgana in a big way, ends up approving the sale of rights to her work,
and she and Morgana carpet-munch their way into the future.
End Real Spoilers
Lina Romay appears, but keeps her clothes on. Her hair is growing back, and
I am guessing she has beaten her cancer, but I am also guessing we have seen
the last of her nude roles. Fata Morgana, Carmen Montes and Christie Levin all
show everything. There are also some grainy B&W shots, supposedly of the
Montes character in her prime, that I didn't bother with. They do show Montes
giving a blow job, then biting the obviously fake penis. This must be the
reason some have called this film "hard-core."
Jess Franco is only happy when he is making a movie, and is not that
concerned with whether it is good, bad or somewhere in between. This is not
his best effort to date, although the IMDb score places it near the top of his
post-1990 output, faint praise though that may be:
(4.97) - Red Silk
(1999)
(4.62) - Vampire Blues
(1999)
(4.57) - Snakewoman
(2005)
(4.16) - Broken Dolls
(1999)
(3.92) - Helter Skelter
(2000)
(3.78) - Killer Barbys vs.
Dracula (2002)
(3.63) - Mari-Cookie and
the Killer Tarantula in 8 Legs to Love You (1998)
(3.63) - Killer Barbys
(1996)
(3.61) - Blind Target
(2000)
(3.47) - Tender Flesh
(1998)
(3.40) - Vampire Junction
(2001)
(3.02) - Lust for
Frankenstein (1998)
On our scale: D.
|
|
|
 |
|
|
|
|
|
|
|
|
"Son of the Beach"
It's a "Babe in Bondage" day.
From Television's Son of the Beach we have caps and
three clips
of Kim Oja tied up and stripped down to her bra & panties.
Also we have these caps of Sophie Marceau's famous boob-baring at the Cannes
Film Festival.
|
|
|
|
|
Notes and collages
The Ladies of
Sci-fi/Fantasy
|
|
|
|
 |
Killing Floor
Here is an exclusive for Scoopy members, This movie won't come out
anywhere until late March.
Marc Blucas plays David Lamont, a successful book publisher, and an
asshole who treats his clients and friends like shit. One day he moves
into a Penthouse apartment where he meets a mysterious woman, Audrey
(Reiko), who lives on the third floor. One day he gets the visit from a
detective and a guy who claims he is the real owner of the penthouse,
saying that his father never sold it,. David tells them that everything
was in order and sends them to talk to his attorney. After this he
starts receiving packages with crime scene photographs that seem to have
taken place in his new apartment. He thinks it's a joke being played by
his best friend, who is mad at him, but he then receives a series of
stalker videotapes that document his every move. David then becomes
convinced that someone wants him out of the apartment, but he is not
willing to go away. He contacts a detective and the two of them begin to
investigate. Bodies start to pile up and David is the only suspect. With
the help of Rebecca (Shiri), his assistant, David finds out that some of
the people involved have the same names as the characters in a book
David didn't bother to read and whose writer he never met, so everything
seems to be a payback for his arrogance.
Shiri Appleby and Reiko Aylesworth show some skin, but not as
much as we could have hoped for.
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
|
